About

Statement

The works I present here are the result of sliding or overlapping elements across several spaces. These elements come from a world made of information flows, a bubbling world that changes and stretches with new innovations (artificial intelligence, networking tool or virtual reality situation…) These same elements also inhabit a dreamlike or poetic dimension, a world of possibilities, without constraint or dependence, a universe that could probably be compared to Winnicott’s psychic virtual1. These works are mental images, fantasies that present these elements brought back from the digital worlds.

 

This approach is based on an obsession with virtual worlds and the virtualization of our world, it takes shape in an alteration of the latter. It is therefore a question of overcoming perception, of passing through the artifice through which a virtual reality is actualized to know the lever that makes it work, in short as for a magic trick, to know the principle at work in illusion.

 

The work is therefore built in this round trip between an object that touches me with its innovative aspect and its analysis. Once it has been discovered, there is a study phase: which models are involved in its operation? Once the veil of fascination has been lifted, the object is reincarnated into a fiction that tends to reuse its principles and artifices by integrating it into my imagination. From there, a mental vision is created that leads to a change in functioning (of one or more models), as if to freeze the object in its immediacy, or even to make it incoherent or inactive.

Chat does this, borrowing from the world of technology its conversational agents (or chatbots) by giving them the words of thinkers and scientists who can describe models at work in the creation and evolution of the Internet. Once the archive has been artificially powered or animated, these authors exchange in a space similar to that of the Internet with a problematic temporal dimension. From ancient Greece to the contemporary world, a thread, taking the form of a dialogue, is being stretched. A fantasized vision of an internet where Heraclitus could communicate with Alan Turing or Aaron Swartz2. This messaging does not share the immediacy of a traditional chat, exchanges are absolutely not instantaneous, here there is only the immutable archive animated by a parody algorithm or mime a social network. In the background, we can see a negative evolution of the Internet, which started about ten years ago, between the archive version and the so-called 2.0 version, the one where the user actively participates in the production of an archive. Of dialogue, only the form remains because the content reveals a cacophony or a set of interspersed monologues.
Chat reuses the online messaging model but also the form, it is a duplication of the model studied which is not a constant of my artistic approach.

 

It is therefore a question of analysing the models linked to an object in order to quickly identify only one (the model here refers to the theoretical diagram intended to reflect a process, the relationships existing between various elements of a complex system).

 

The analysis thus makes it possible to place a business model in a new context.
The exchange, which evokes the subprime crisis, combines two realities, two buildings, Wall Street and the Althing (Icelandic Parliament), two architectures that each have a presence, a geographical reality with a space of their own. This project virtualizes them within the same completely dematerialized space (in the sense that it must be perceived through a digital interface). The virtual in this financial crisis is part of the real because it has generated heavy impacts on industrialized societies. At the root of this crisis are information flows, economic and financial models, purchase and sale orders that run through the paths of the network before triggering this stock market earthquake. The form of the video and animation has been chosen in order to represent the outcome of these flows in a more inert, less fleeting material. This vision of an Icelandic parliament south of Manhattan tends to depict an invisible but real barrier – the temporary closure of the Icelandic market to world markets.

 

The objects chosen as the starting point of each project therefore have in common that they participate in a virtuality even if they can manifest themselves in a present way. These objects also share an absolute: ubiquity, multiplicity, the complexity of grasping their essence or identity are the basis of my reflection.